I found this photograph with some old family things and wondered who the white-bearded gentleman might be. He showed up wearing overalls in another photo taken with my great-grandparents, Noah and Mabel Short, and three of their six sons. From the North Dakota license plate and the house front pose, it looked like an out-of-state family visit by car, making me suspect the distinguished looking man was my great-great-grandfather, George Washington Short, and his second wife, Flora, who lived outside Stillwell, Indiana. When I sent my great-aunt the photos, she agreed the man with the trim white beard must be her grandfather, GW.

Next I spotted George Washington in a group photo with Mabel and Noah holding their two oldest boys before they left Indiana for North Dakota in 1907. The building looks like the church near the cemetery where my great-great-grandfather is buried, a photo I found later on find-a-grave.com. Noah and Mabel are just left of the photo’s center. Can you find GW on the right next to Flora?

And then GW and Flora appeared again in another photo taken at a house with a fancy porch, probably another church gathering. I recognized the young woman next to Flora as their daughter Pansy, who I had seen in a photo from her 1915 visit to Noah and Mabel in North Dakota. I also figured out that the handsome young man with the mustache in both photos was probably Noah’s brother Frederick Pershing Short, the “Pershing” for their mother Mary McBroom, who was third cousin to the General John J. Pershing.

Recently, I met a first cousin twice-removed through ancestry.com (first cousin twice-removed means she was my grandfather’s cousin). Our DNA tests matched, so we contacted each other to share what we know. I sent this newly found cousin my photos of George Washington and she affirmed I was right in my guess. Her father was GW’s youngest son, Welcome. I was thrilled to think this cousin had known my great-great-grandfather when she was a child, but the timing seemed odd since my own grandfather Russell, her cousin, has been gone a long time. That’s because she is descended from the second, younger part of GW’s family with Flora Dennie and I am from the first, older part with Mary McBroom. After my great-great-grandmother died young, GW remarried, creating two separate families, with my side moving to North Dakota in 1907, which was where my grandfather was born.

With the help of my expert genealogy friend, a little more research uncovered that at 16, George Washington Short left his home in Indiana to serve in the Civil War. In 1864, he was wounded in the battle of Murfreesboro, Tennessee, and was discharged after the war ended in 1865. He saw a bit of the world for a young man of his time, but when he came home, he bought some land for himself. A photo from my new cousin put it all in place. Here was George Washington in work shirt and suspenders on his farm. In the background you can see an earlier view of the barn in my first picture.

George Washington Short became a farmer, just like his father, Silas Short, and his grandfather, Curtis Short in Sussex, Delaware, before him. That’s as far back as my records go. But the farming lineage reaches forward to GW’s son Noah, his son Russell, and—although he left the farm to become a surveyor—my father, Robert Short. The census records don’t say “farmer” next to their names, but my paternal grandmothers were farmers, too, from Hannah (last name unknown), Mary Ann Thompson, and Mary McBroom to Mabel Amor and Olga Jacobson, my grandmother. Farmers are also on my maternal side, but that’s another story.

This story about George Washington Short has gotten me thinking about farming today. In GW’s time and before, farms and farming knowledge passed from generation to generation in this country because the majority of the population lived on family farms. They grew and ate their own food and sold crops when they could. Their land was not just where they lived but where they made theirliving.

I found GW’s land at the northwest intersection of two roads in section 14 of a 1921 plat for Pleasant township, LaPorte county, Indiana. Seeing his name on that plat gave me another thrill. Now I could picture the land that held that big barn and fences around fields on which he grew crops and raised livestock and Flora kept a big garden to feed her family of seven.

Today, food barely comes from a farm, not when you consider all the processing and packaging that happens before we eat it. Farms and farmland are shrinking, both from loss of land to development and from consolidation of farms into bigger, corporate-owned businesses. Food is big business—but it’s not the kind of food my great-great-grandparents or even my parents ate when they were young.

To get a sense of the food industry today, take a look at how much of your food dollars goes to farmers—a mere 8.6%. And from that, farmers pay the costs of production, including farm laborers, seeds, insurance (a big chunk), irrigation, machinery, and structures. The rest of your food dollar goes to stuff you probably rarely think about when you sit down to a meal, like transportation, packaging, advertising and the costs of retail and trade services that get your food from the field to your plate.

Community supported farms like ours are keeping smaller acreages in food production and that’s important not only for farmland preservation, but for helping people eat closer to the plant. Here’s a chart showing the most common veggies consumed in the US today, with the green part of the bar meaning “fresh.” Potatoes, tomatoes, onions, lettuce, and carrots are the most popular fresh vegetables on most people’s tables.

But when members join a CSA farm, their plate will include all kinds of other vegetables. Just this week for the third pick-up of our season, our subscribers took home spinach, green garlic, radishes, head lettuce, kale, and beet greens—all fresh, all just-picked, all organic. The first two weeks, they got rhubarb, too, which we’ll pick again this Saturday. And this is just the start of the season, with the bulk of the garden still to come. Once the basil’s in, we joke that people get back the cost of their membership in what they save on the price of supermarket basil (which comes in plastic, how appetizing).

Eating from a CSA farm isn’t exactly like eating from a family farm like my great-great-grandfather’s, but these days, it’s about as close as you can come. Small, local community farms help people eat closer to the land and closer to the health provided by the food. Even in the days before antibiotics and immunizations, George Washington Short lived to be 90 years old. I like to think fresh food and hard work on the land kept him healthy and fit. I hope eating food from Stonebridge Farm helps our members stay healthy too (check out our recipes here). Delicious vegetables, farmland preservation, and local community support for food production–I think my great-great-grandfather would approve.

The 48th Earth Day dawned cold and moist, too wet to prepare the beds for brassica transplants. Instead, our Saturday crew worked in the greenhouse mixing buckets of organic soil blend, prepping herb flats, and cupping up tender eggplant, peppers, tomatoes, and basil. Busy hands make light work; great conversation makes light work, too. Most of all, working together turns farm work into something more than work, something I would call a “concerted effort toward the good.”

Since the last election, I’ve been struggling with how best to spend my days. Farming, writing, teaching, family ties, and friendship still come to the top, but I know that’s not enough. In these terrible times, real threats to democracy and justice of all kinds face us. Resistance to greed, prejudice, and isolationism must be woven through all I do. So I wake up each morning with this directive in mind: Today, make concerted efforts toward the good.

On the first Earth Day in 1970, my fifth grade class planted a garden of flowers outside our classroom. Each year since then, I’ve tried to mark the day by doing something that gives me hope. Pollution of the planet seemed the biggest environmental threat back then, a problem that seemed surmountable if we worked hard enough to raise awareness and change public policies. Now we know that global warming and climate crisis cannot be solved in one generation’s lifetime.

Still, we have made a start and we won’t give up, even when our government’s hostility to equality and environmental protection threatens to take us backwards. Some people say the only remaining solution to ecological devastation is adaptation. Adaptation, in fact, is already taking place across many species, including our own. This doesn’t mean we can abandon other strategies. Our resistance toward the current government’s policies to reverse social justice and environmental gains is part of our continued work toward regeneration of the earth, its resources, and all the beings that create our vast planetary ecosystem.

When I think of a concert, I think of the joining together of many talents to create something larger than each can make on their own. In this way, “concerted efforts” means actions made in the company of others through collaboration within and across landscapes and ecosystems of all kinds. Where to start with these concerted efforts will depend on the view from each locale. What’s important—what’s absolutely necessary—is to start somewhere by connecting with others who share our concerns.

Spring is a time of renewal and regeneration. Snow melts and fills streams, grass turns green, and trees bud and bloom. At Stonebridge Farm, we plant crops, raise new chicks, and wait for moisture and sun to waken seeds from their winter’s sleep. In A Bushel’s Worth: An Ecobiography, I wrote, “Seeds are generative: their work it to extend the generation of plants and the world they feed.”

With regeneration their goal, seeds surely make concerted efforts toward the good as each seed’s efforts are multiplied in kind. Like seeds, we humans must work together to extend the generation of the planet. In the struggles before us, let us be seeds.

Making no claims to poetry, here’s a piece I started in 2009 and found again a couple weeks ago. Given 70 degree temperatures and wildfires on the Front Range earlier in the week, it’s a relief to find February can still be winter.

As my friend and I drove to Ghost Ranch outside Abiquiu, New Mexico, I tried to imagine the dirt road as Georgia O’Keeffe would have driven it in her 1930s roadster. Red rock towers spindled along the narrow highway as we left the Rio Grande valley and ascended the Colorado Plateau. We were on our way to Ghost Ranch as part of the Women Writing the West conference in Santa Fe, but it was a woman painting the Southwest who was on my mind as we drove.

The Ghost Ranch tour was led by Leslie Poling-Kempe, author of Ladies of the Canyons: A League of Extraordinary Women and their Adventures in the American Southwest, a study of the circle of East Coast women who came to New Mexico in the early 1900s to create lives independent of repressive Victorian gender roles. Kempe’s remarkable history of these women is this year’s WILLA scholarly non-fiction award winner and is an impressive work of research that re-illuminates the lives of women whose marks on the Southwest had almost faded from view.

One of the ladies of the canyon was Carol Bishop Stanley, a trained musician who came to New Mexico on an adventure, married first one cowboy, then another, and never left. Her first gambler husband won a reputedly haunted, remote camp outside Abiquiu from cattle rustlers in a poker game. Stanley became owner after their divorce, named the place Ghost Ranch, and built it into a successful dude ranch and refuge for wealthy families from back East. We toured Stanley’s original adobe home and headquarters with its low ceiling and rustic wooden furniture. Ghost Ranch itself is now owned by the Presbyterian Church and is open to anyone for day or overnight visits. Part of our tour was a preview of a new exhibit at the Ghost Ranch museum about some of the ladies of the canyon, including diaries, photographs, and artifacts of their day.

Georgia O’Keeffe first visited Ghost Ranch in 1934 and in 1940 bought a piece of the property with a house that had been built by Alfred Pack, who purchased Ghost Ranch from Carol Stanley (read Ladies of the Canyons for the whole story). While O’Keeffe’s house was not part of the tour, we did see the casita she rented when she first came to Bishop’s Ghost Ranch.

We could also view the Pedernal in the distance, a flat-top mesa in the Jemez range that O’Keeffe painted many times as the colors changed with light and season, joking that it was her private mountain since God had promised to give it to her if she would paint it often enough.

After the tour and exhibit, my friend and I hiked into Box Canyon, so called for the geological formation that created a natural corral for the rustled cattle once hidden there. We followed red dirt trails uphill, past abandoned hogans, toward a plateau of scrub pine and high stone buttes ringed with cottonwoods, now ablaze in the October sun. As I hiked, I tried to place myself in O’Keeffe’s paintings, imagining what the artist might have seen as she hiked a path much like ours.

At the top of the rise, before the trail split into two, I stopped. Looking up from where I stood at the edge of a deep arroyo, it seemed the clouds were rising one at a time from the depths of the canyon, rather than floating across the sky. I thought of O’Keeffe’s paintings like Above the Clouds I, a canvas of oval clouds filling the sky to the horizon line, or In the Patio VIII, with its dots of clouds hanging over her adobe home. I could see why these New Mexico clouds appealed to O’Keeffe and how her particular style of painting them straddled a line between abstract and representational, as her work generally did.

On previous trips to New Mexico, I hadn’t noticed how the clouds in that high desert region could differ from the clouds in Colorado that barrel over the Rockies and drape across the Front Range sky. Like the clouds in O’Keeffe’s paintings, the clouds at Ghost Ranch that day were distinct from one another, individual even in their similarity. As my friend and I continued onto the plateau and threaded our way through astounding rock formations towering far over our heads, I kept an eye on the clouds drifting in that trick of the horizon up and over the buttes.

According to O’Keeffe’s biographer, Laura Lisle, in Portrait of an Artist: A Biography of Georgia O’Keeffe, the artist began to consider painting clouds in the 1960s when she started traveling by plane. Her first oil portrayed a solid mass of clouds under a sky. Next she broke the bank up into smaller clouds, and then placed more blue between them, creating, as Lisle writes, “an inviting path of stepping stones into infinity.” Whether this metamorphosis from large mass to smaller shapes was inspired by the clouds of her New Mexico home, I don’t know, but the evolution from clouds by plane to clouds over her own patio does seem likely. Whatever its inspiration, the oversized cloud panorama she exhibited in 1966, Sky Above Clouds IV, was unlike anything any artist had painted before.

Two weeks after visiting Ghost Ranch, I hiked with my partner John in Rocky Mountain National Park just a half hour drive from our home. I wanted to compare our clouds with the ones I’d viewed in New Mexico. Just as I remembered, small clouds are rare here except as part of a larger pack. What’s more, in the Rockies, the mountains are so dominant, it’s easy to overlook the sky. Each time we hiked up and around a switchback, a new vista stretched before us, like another layer of a painting hidden, until then, from view. As I tried to let the majestic peaks recede in my vision, the clouds suddenly came forward, reversing background for foreground, earth for sky. With surprise, I realized that the clouds before me were as big and even bigger than the mountains, so massive in size, even their shadows could cover an entire mountain from peak to base.

One mark of a great artist is how they inspire us to look at the world in a different way. I love O’Keeffe’s work for many reasons—her fierce commitment to her art, the trails she blazed for women, her recognition of beauty in common or traditionally “feminine” objects, and the emotional sense of place she worked to portray. But it wasn’t until I visited the land on which she walked that I understood the way her art inspires us to transcend what we see with our eyes into a larger vision. Whether the genius of her work is found in color, shape, scale, juxtaposition, or craft, her paintings capture something more than the sum of their parts. They offer us the opportunity to see both into the essence of an object and beyond its earthly form. O’Keeffe’s work teaches us that new perspectives are within our reach if we take the time to look.

Yesterday we celebrated Stonebridge Farm’s 25th season as a CSA with a harvest concert and potluck on a gentle September evening. We were joined by favorite local singer/songwriters who have graced our Stonebridge stage: Jenny and Tom Hodgson, Tupelo Honey, and Joe Kuckla, who built the stage for us many years ago. As the sun set over the mountains, we danced and laughed and ate delicious food while the children fished off the wooden bridge and played on the giant swing across the ditch. I’d like to share some of my remarks on this wonderful occasion with my pearlmoonplenty readers:

Here we are at the height of the harvest in our 25th CSA season. “Who could believe it?” as my Grandma Smith would say. John and I certainly didn’t imagine this day when we started out all those years ago.

This land we’re celebrating first became a farm in 1911, a dairy farm with cows pastured in the fields and milked in the big red barn with its haylofts overhead. This land has been stewarded with care by many generations of farmers. Their work brought the farm to us by cultivating it responsibly and by holding onto its agricultural promise rather than selling it for development profit. I feel the generations of farmers behind me when I stand on this stage and look over the land on this fine fall day. From here I can see your faces, too, and I want to thank you all for being with us today and every day on this land.

One of many things that makes Stonebridge special is that we’re continuing to grow farm-friendly generations here. We now have kids going off to college whose parents were members before those children were born. We even have third-generation members—families with grandparents, parents, and young ones all eating Stonebridge vegetables.

And we have our own four-year-old grandson, Collin, who loves coming to visit and takes an active interest in what’s going on here. He even helps us figure out how to solve problems. For example, three Friday nights ago a bear knocked over our beehive to get the honey. When we came out to pick on Saturday morning, we saw the hive in a heap and the angry bees buzzing overhead looking for their home. Our friends Jay and Orion got the hive back together but decided to wait until evening to capture the bees and move the hive to protect it from the bear, who surely would return for the rest of the honey that night.

Around 5:30 in the evening, John and Orion went to get the hive, figuring the bear wouldn’t have come back yet. You can guess what they found: the bear was right there and, when it saw the truck, it ran across the ditch, straight through the water and up the bushy bank. Not only that, when it got to the other side, it stood up on its hind legs and waved its arms as if to say, ‘I’m a BIG bear!” Then it got down on its four feet to run off to the north and we haven’t seen it back yet.

As I told Collin this story, his eyes were wide. He loves animals and animal stories, and he knows a lot about different kinds of animals, so when I got to the end of the tale, I waited for what he would say. He thought a minute before offering a matter-of-fact solution: “You should get a Siberian tiger.”

“Hmmm,” I said.

He thought another minute. “But you couldn’t let the chickens out.”

“That’s true,” I said. “We couldn’t’ let the chickens out.”

He thought another minute. “And you couldn’t go outside either.”

“You’re right. Maybe a tiger isn’t what we need.”

I could see from the serious look on his face, this was a problem he intended to solve. “I wonder what animal would scare a bear,” he said, “but not scare you.”

“What do you think?” I asked.

Of course, his answer was his favorite animal: “You should get an elephant!”

It’s encouraging to look ahead through the new lives at the farm, but it’s also amazing to look behind. So very many wonderful people have passed through our lives at Stonebridge and, luckily, many of them are still here working with us in the fields, contributing skills to the land and all it holds, and celebrating with us here today. We may never get an elephant, but we will keep this farm going as long as we are able, and, hopefully, for harvests beyond our time as well. As Jenny sings in “Dance the Seasons,” the beautiful song she wrote for our farm, “We’ll dance the seasons in and out as we cross these fields again.”

Last weekend our little town of Lyons, Colorado, celebrated its 40th Annual Good Old Days, a June event of music, food, and fun. Over the 25 years I’ve been in Lyons, the event has changed from year to year depending on location and community engagement. For many years Good Old Days included carnival rides, but the 2013 flood destroyed the field large enough to hold them. For this year’s 40th celebration, the town hired a kayak tank and airborne games (think “jumpy castle”) instead, along with providing space for area musicians and dancers, a chamber of commerce libations booth, and a local food vendor.

Our friend Priscilla Cohan, one of the artists behind the town’s amazing Clarifier Project, would like to see the town move Good Old Days in the direction of a Heritage Faire with craftspeople teaching old-time arts like basket-making, caning, welding, woodworking, food preserving, leather-working and even more mundane crafts like knitting and sewing—arts that are experiencing a resurgence nationally as people become interested in self-sufficiency and localism.

As a pilot project for a future Heritage Faire, we came up with the idea of Block2Blanket, an intergenerational craft event during Good Old Days. For Block2Blanket, we asked community members to donate gently used or moth-eaten 100% wool sweaters to be upcycled into a warm and colorful picnic blanket.

A contemporary cross between old-time quilting bees and Sheep to Shawl competitions, Block2Blanket doesn’t require much money but rather depends on community donated materials and time. Basing the project on the idea that many hands make light work, we created tasks for children of all ages, from sorting and cutting to designing and sewing.

Our first step was posting a notice in our local papers for sweater donation: “Spring cleaning? Don’t throw away the wool sweaters you didn’t wear all winter. Instead, donate them to Block2Blanket.” We collected a dozen sweaters and a couple blankets. Before the event itself, we washed the donations by machine in hot water and then dried them on high heat to felt the wool. This felting makes the wool denser and more stable for sewing.

Other donated resources were scissors, thread, pins, and bobbins. After making sure we’d have electricity at our booth in the park, we borrowed two sewing machines with zig-zag stitch capability. We also made 6 x 6 inch square paper and cardboard templates to be traced around or pinned on the materials for cutting.

Priscilla brought her canopy tent and made a colorful fabric garland to flap in the breeze; we each brought tables, setting up one for cutting, another for laying out the squares, and another for a machine at each end. We began by cutting the sweaters into sections along the seams so the pieces would lay flat. Friends came by to help cut, piece, and stitch as musicians took the stage.

Our original thought had been that children would participate in the project, learning about upcycling, as well as sewing skills. I hadn’t even thought about the lure of the jumpy water games, which turned out to be much more of a draw than cutting and sewing. A few children stopped by the booth, but it was adults who were most interested in what we were doing. Some promised to donate sweaters and some were interested in learning the process. Everyone to whom we talked thought that turning old sweaters and blankets into something functional and beautiful was a cool idea.

While we chatted and listened to local musicians, we cut and sewed squares into long strips by placing one edge of a block over another and sewing the edges securely with a couple rows of zig-zag stitching. In three hours, we completed seven strips of 12 blocks each. We’ll finish the blanket at our Stonebridge knitting night or another outdoor summer event. Once completed, we’ll raffle the blanket as a benefit for the Lyons Redstone Museum. We plan to make pot holders out of the scraps to sell for the museum, too.

This first go at Block2Blanket was a success. If we do it again next year, we’ll make a kid-friendly sign; perhaps we’ll do more outreach with children’s groups or the school. Maybe we’ll offer a cup of lemonade to anyone who helps. We’re still accepting donated 100% wool sweaters to expand the blanket’s pattern and color schemes. We’ve got five strips to go and we can’t wait to see how the blanket turns out!

Spinach. Again. Walking onions, green garlic, radishes, and kale. A curly head of lettuce from the greenhouse. Nice to have rhubarb—so early this year.

Welcome to the season’s first community-supported agricultural shares on Colorado’s Front Range.

When members join a CSA, it doesn’t take long to figure out that eating locally and seasonally isn’t like shopping at a grocery store. Variety and availability is determined by the climate—temperature, day length, precipitation, zone, and weather influence what can be planted and when. After winter’s frigid temperatures, the soil needs time to warm up before most crops can be seeded. Even when spring days are sunny and warm, nights remain cool. The last frost of the winter can hit in March, April, or even May. Until all chance of frost has passed, tender crops can’t be planted. Moisture is another variable: too much and seeds rot in the ground; not enough and they don’t germinate.

All these factors and more determine what’s ready in the Stonebridge barn each week. From early May until mid-June, the share is limited because fall-planted or perennial plants are still waking up from the winter. At Stonebridge, the season starts a month earlier than most CSAs in our area because our members are ready for early spinach and fresh lettuce. From kale to rhubarb, anything else is a bonus in those first unpredictable weeks.

In Colorado, we say if you don’t like the weather, just wait a minute. Change will come. The same is true in eating seasonally. When we’re tired of the same early crops, the brassicas—cauliflower, broccoli, and cabbage—started in the greenhouse and transplanted to the fields in early spring soon join the line-up, along with baby beets and carrots seeded in May’s still-cool soil. Peas—so much work but such a treat—show up next in the barn; many of them don’t make it home but get eaten on the drive instead. Spring-planted spinach comes on as winter-over spinach begins to bolt. Kale and chard are both raring to go. All those greens take getting used to but, as our doctor says, eating greens “is like eating health.”

Once the summer squash and cucumbers need picking every other day, the garden’s bounty has arrived. Garlic is harvested and given every week. Beans beg for picking as beets and carrots become Saturday regulars. The show-offs of the fields—tomatoes, peppers, and eggplant—make their many weeks’ seeding, weeding, and tending worth it. Even people who think they don’t like eggplant admit that a fresh one is a whole different matter.

Come August, farmers are busy harvesting and members are busy cooking, canning, drying, and freezing with help from our weekly recipe list (stonebridgefarmcsa/recipes). This plentitude won’t slow down until the temperatures cool again. When first frost threatens, high summer crops are pulled for the barn; the pepper “pick-down” yields plenty for freezing, too. After frost nips the vines, winter squash and pumpkins are harvested in a hand-to-hand relay from the fields to the hay wagon and the hay wagon to the barn. Onions come in from the fields to cure, leaving autumn’s Asian and other greens, roots like rutabagas, carrots, and turnips, and whatever’s stored in the barn to fill the end-of-season shares.

Repetitious? Sometimes. Unpredictable? That’s farming. But people who hang out at a CSA learn to treat vegetables like old friends. Ah, how wonderful to see you again! It’s been a year since we last met. You’re looking well. I can hardly wait to make that soup/salad/dip/dessert I only make each spring/summer/fall.

Seasonal eating has its challenges. In any given year, one crop will shine and another will lack luster. Especially in Colorado, no week can bring the amount or variety of vegetables available at a grocery store. We hope the benefits of supporting local agriculture outweigh that inconvenience. Fresh is a flavor; fresh-picked veggies just taste better. Not to mention the value of keeping local land in organic agricultural production through participation in a community-centered, reciprocal effort. As we say at Stonebridge, when the community feeds itself, the land and the people prosper.

Eating seasonally brings surprises, satisfactions, and delights. It also brings disappointments and, sometimes, failures. Good thing farming is forgiving. Each season, we get to try again.

If you’re a new CSA member, learning the season’s rhythms takes time. If you give it a chance, one day that shift will occur. From kids learning to eat vegetables to members anticipating the next crop, we’ve seen that magic in the barn as “Spinach again???” becomes “Yippee, spinach again!!!”